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EVENTS AT HANSEN HOUSE
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Bonsai Prize And Conference 2018
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Jerusalem Design Week 2019 calls on designers
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BAUNOW
Celebrating 100 Years of Bauhaus
15.8-14.9.2019
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Jerusalem Design Week 2020 announces an open call for designers
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In Print Art Book Fair
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JLM WebDev meetup #2
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That We’ve Forgotten The Rain
Mamuta Art and Research Center at Hansen House
Curators: Sala-Manca Group
Opening hours: Sun-Thur - 10:00-18:00 | Friday - 10:00-14:00
Saturday - February 29th - 11:00-15:00
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Exhibition: Living Life
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Designing Cultural Landscapes: Dynamic Conservation and Future Challenges for Israel's Bioregion
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This is water - A talk with Emilie Glazer and Elad Orian
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Primavera #7 - Open Call
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A Pit in the Public Space
Thursday, 13/02/20, from 19:00
Free entrance
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Scarlet Yarn and Hyssop
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Design for Access - The role of design in creating more inclusive tech
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Purim at Hansen
Tickets are now available!
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Timed Act
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"Kuntzi and Bobby Make an Exhibition”
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Outline Festival
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Permanent Residency
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Wind Mind
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Times | Nathalie Kertesz Maor
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A Wedding in Times of Plague
A Tragicomedy at the Leper Asylum
Based on a short story by Isaac Leib Peretz
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Runaway Circus ~ Jerusalem Design Week, 2021
Over 160 participating artists and designers!
July 1-8 at Hansen House, Jerusalem
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Total Request Live, 30 Years Later
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Elements
New exhibition
17.9-13.11.2021
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Being There – Oltre il giardino | Claudia Losi
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In Print Art Book Fair Open Call Application
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ZER0|1NE Festival
28-29.12.2021
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Kudüs-i Sherif: a view at Jerusalem from Istanbul
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Framed Expanse - Ezra Orion
Closing - April 2nd, 2022
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Primavera 2022
April 7th-8th, 2022
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Play- Family Festival 2022
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Jerusalem Design Week 2022 | FOR NOW
23-30 June 2022
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What's More, Yellow or an Elephant?
29.7-9.7.2022
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Resting Bitch | Sharon Balaban
Curators: Sala-Manca
Mamuta Art and Research Center and Hansen House
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The Sad Locust Hunters | Yifeat Ziv
4.11.2022 - 26.12.2022
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Acoustic Signature
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In Print Art Book Fair 2023
Thursday, January 12, 15:00-23:00
Friday, January 13, 10:00-14:30
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Hansen_10
19.1.23-16.3.23
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פרימוורה #10 יריד המעצבים של בית הנסן
23-23.3.2023
Free Entrance
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CQ
20.06.2023 – 16.04.2023
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Total Care
Shir Senior and Keren Kuenberg
21.4 - 2.6.23
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Memories of Others: Irit Batsry
A new exhibition at Mamuta Art Research Center
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Facing Reality
20.7.23-28.7.23
It is common to think about the origins of the moving image as if these were set in the age of mechanical reproduction. However, the roots of film are not exclusively historical, at least not in the conventional sense of the word. While motion pictures emerged as an extension of photography (as well as other related technologies) from the nineteenth century onwards, this development merely accounts for their technical history and does not offer sufficient insight into the ontological nature of film. Stanley Cavell, the American philosopher, addressed this issue when he wrote that science presents itself in the movies as if it was magic, but at the same time we must not forget that magic is one of the sources from which science was born, and indeed also film. Cavell’s proposal raises a fundamental question: Does the act of exposing the technical or organic mechanism at the origin of movement (that of images as well as the body) spoil the sense of illusion or the magical power of an artwork, or can these two aspects coexist? The exhibition Elements at Hensen House in Jerusalem sets out to explore this dilemma. The show includes two filmic works and several collages and paintings by Sharon Etgar and Anat Gutberg that seek to explore the idea of creation as it comes into expression in the mythology of the moving image as well as the pivotal role of fragmentation and deconstruction in this mythology.
Elements emerged from an ongoing conversation and a collaborative inquiry conducted by Etgar and Gutberg into a range of visual materials and filmmaking techniques. The two video works in the exhibition offer a useful entry point to gain a preliminary overview of the exchange. Etgar’s film, Light, Nothingness, End, began as an experiment in which the artist set out to translate her visual experience of familiar mechanical objects from the domestic environment into moving image using a video camera in Negative Mode. The film is based on documentation of a ceiling fan that generates unexpected formal and rhythmic compositions despite its fixed rhythmic movement in space. As a result of the object’s speed, its intrusion to light and the Negative Mode of the camera, an unrecognised amorphic body emerges in the film, beating and changing shape. At some point in the film, a straight line appears as if from nowhere and begins to penetrate the circular surface, disappearing and re-emerging again. The repeated action resembles the process of fertilisation and eventually leads the main mass to split in two.